21b. Turn to language in Shax? “We were and are—I am, even as thou art—/Beings who ne’er each other can resign” A (Byron)

21c. Another speech, this on the happiness of going to prison “And take upon’s the mystery of things,/As if we were God’s spies: and we’ll wear out,/In a wall’d prison, packs and sects of great ones/That ebb and flow by the moon.” A (Lear again—which I clearly need to reread)

22a. Practically moribund as far as movement goes with a dose of Romantic landscapism. It sounds like Wordsworth to me “To the dim light and the large circle of shade/I have clomb” And then escalates to crisis immediately. Though there’s no grass, “my longing loses not its green” Here’s how I’d revise it

Shade circle—snow-stomped grass.Farther down, hard stone

but this sestina goes on a little longer. The vogue for sestina precedes and antedates Romanticism, so I don’t have a guess C (d’oh, it’s Dante trans by Rossetti)

22b. Victorian something. What I know not, and I honestly don’t follow it past the first 3 lines. C+ (Cavalcanti by Rossetti)

22c. Swinburne trans of Sappho. The strength is based on the source B+ (Rossetti’s Sappho, actually)

22d. Strong voice of social protest, probably from the 30s. B+ (Reznikoff!)

22e. Same as above, I wd think. Nice Homeric simile: “you would not die with your work unended,/ As if the iron scythe in the grass stops for a flower?” A (Rez)

25. I dislike “I too, dislike it” but it’s suggestive for my current project. [N]or is it/vlaid to discriminate against business documents/school-books,//trade reports—these phenoma/are important; but dragged into conscious oddity by/half poets, the result is not poetry./This we know. In a liking for the raw material in all/its rawness,/and for that which is genuine, there is liking for poetry.” B (1932 version)